Arnie's toe-dip back into the action-cinema pool is a daft bit of fluff rather than a bruising mission statement. Get through the plot and you'll be rewarded with 30 minutes of whirligig mayhem.

Important, but it echoes a better film - The Texas Chainsaw Massacre.

The muddled mix of documentary rawness and fable-like naiveté prevents it from fulfilling its parable pretensions.

While its tone occasionally wavers and there are some wobbly performances, this has moments of true lightness, and a welcome sense of whimsy often missing in the costume genre.

Swank’s moving performance, the period dressing and beautiful planes all appeal, but dramatically it doesn’t really soar.

Despite its glaring obviousness, this is charming enough to captivate the viewer, producing unexpectedly strong female characters and faultless attention to detail.

Braveheart in a new kilt. Not exactly original, then, but worth a look.

Interesting for it's historical notoriety, but overlong and dull in places.

Although the pleasures of the flesh are shown with enough erotic power to convince us of Hélène's addiction to them, the anonymity of the lead characters stops the film from truly gripping. 

We've seen all these stunts pulled before, and seen them done better, but there's some pleasure to be had here — even if it's of the extremely guilty kind.

A small but perfectly formed crime drama. And, without making a fuss, a proper nail-biter, too.

This is everything you might expect of a Baz Luhrmann biopic. It’s brash, loud, maximalist, and certainly never boring, but also keeps its subject at a distance, enthralled by his glamour not his soul.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

Claire Denis' drama is an overly fastidious but insight-filled look at post-colonial Africa.

Sounds rather soapy and melodramatic, but director Susanne Bier, assisted by an able cast, ensures the traumas are painfully realistic and subtly observed.

An ambitious thriller from Pawlikowski assisted by excellent performances from Hawke, Kulig and Scott Thomas.

A curiously compulsive drama that for all its inevitable Dead Sailors’ Society trappings is still highly entertaining.

Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.

Like the Minions, this instalment is barely distinguishable from any of the others, but it’s easy to be won over by its nutty joy and enthusiasm.

Killer Of Killers looks the business and comes with all the gory kills and human heroes you’d hope for, but like most anthologies it is a little hit-and-miss.

This grungy anti-musical will offend just about everyone with its attitude towards women, gays, kids, and the elderly.

Now practically an exile from his homeland, Kiarostami follows Certified Copy with another film-literate relationship drama with the enigmatic overtones of Hitchcock.

However, thanks to engaging performances and a sharp script, this movie - essentially a series of three-minute sketches filling 101 minutes could be just the right choice for that Saturday night date, while Wayne-speak will no doubt be quoted and become part of the English language.

Effective melodrama with some satisfying emotional confrontations, particularly from Lana Turner.

Entertaining and ambitious horror hokum, slightly tarnished by a disappointingly obvious "shock" ending.

There was much to dread about this new iteration of Dredd, but it's a solid, occasionally excellent take on the character, with Urban's chin particularly impressive.

Weird, but kind of cool.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.